mattress

In a world where definitions change on a whim, Prada Marfa has been named an “art museum site” by the Texas Department of Transportation. [Associated Press via Ballroom Marfa]

Also in Marfa, a terribly expensive art project: artist Robert Irwin has received funding to go ahead with a new installation after receiving a $1 million gift. [Glasstire]

One of these four artists is about to be € 25,000 richer: Cory Arcangel, Camille Henrot, Thomas&Craighead, and Ulf Aminde. They’ve all been nominated for the 2014 Nam June Paik Award. [e-flux]

After Art F City covered the American Royalties Too Act (twice), now WNYC has added their two cents, interviewing a law professor at Ohio State University who argues that it might “drive sales to galleries and private sales, which would be exempt from the law.”[WNYC]

This KLM commercial has the airline employing a beagle to return lost property to its passengers. It’s pretty much the most joy-inducing video ever, though the buzzfeed investigative reporting team discovered that the airline doesn’t actually have dogs on staff. Whatever. It’s slightly misleading, but adorable regardless. (And you get to listen to Dutch, which always sounds lovely.) [YouTube]

Matthew Slotover and Amanda Sharp, the co-owner and co-directors of Frieze have stepped back from their role and appointed Victoria Siddall as the new director of Frieze London and Frieze New York. Siddall already managed Frieze Masters. Sharp and Slotover say they are stepping back from the business so they can pursue other projects. Slotover says they aren’t opening a new publication or fair, so what’s next? Frieze auction data? [FT]

Emma Sulkowicz, the Columbia student who has been carrying her mattress around campus in protest of the school’s tepid response to her rape, is not the only student suffering from this problem. A new Times op-doc reveals that universities routinely punish rapists with a slap on the wrist. [The New York Times]

Tips on how to keep your art-filled marriage hot, and tips on what to do after the divorce: “‘The love of art grows exponentially after the appraiser’s report comes in,’ especially if items have grown in value, says Dallas-based lawyer Ike Vanden Eykel.” [Wall Street Journal]

Roberta Smith discusses Emma Sulkowicz’s “Carry That Weight.” Sulkowicz was raped in her Columbia dorm room in 2012, and until the man who attacked her leaves the school, she will carry a mattress with her everywhere she goes on campus. [The New York Times]

Jerry Saltz believes that Tino Sehgal has a monopoly on child actors in an art piece, claiming that Allora and Calzadilla’s new exhibition at Gladstone “borders on plagiarism.” The article reaches a crescendo of ridiculousness in its final lines, as Saltz decries the work “not art”, but someone’s idea of other people’s art. Labeling a work derivative should only require one line—if it’s a problem it is simply evidence of a common or weak idea—it would have been good to have read a critique of the work on its own terms. [Vulture]

The High Line’s final leg of construction comes to an end, and lo, Michael Kimmelman praises its view as a “heartbreaker,” a tour de force spanning more than just the Hudson River. Kimmelman doesn’t just revel in aesthetics; he brings up the entire bumpy past of the High Line, from corporate funding to a boom in condominium development along the High Line. [The New York Times]

The People’s Climate March drew an estimated 311,000 demonstrators in New York yesterday. The climax of the march is described as a moment of silence that occurred early afternoon pierced by a whistle followed by hundreds of thousands of marchers whooping and yelling. [The New York Times]

Yes, many people waiting in line for the new iPhone 6 were not buying it for themselves. Filmmaker Casey Neistat focuses on the “Chinese mafia” who were grabbing up the phones this weekend. [Gothamist]